A visually accomplished film of emotional and spatial interiors without the slightest inkling of visual contrivance. Pialat's pessimistic world-view reveals a vital embrace of sexual promiscuity, in parallel tracks to a family's campy decline. If the latter element does not always work, the film's openness to existence's inexplicable voids is absorbing. Not the masterpiece it is hailed to be but with many merits.
It's the most Cassavetes thing never done by Cassavetes, the drama is almost all this hesitant and emotionally propulsive dialogue. Manages to feel quiet while actually being filled to the brim with words, ideas, passionate conflict. Every shot starts out kind of off kilter, lopsided, eventually morphing into this perfect, revelatory frame. Reads like a father's apology to his daughter. Guilty paternalism.
A 15 years young french girl embarks herself on a journey to explore her sexuality. The genius of this film to me comes in moments where it cuts open reality allowing us to dig deeper into the confusion of the characters. The midnight scene where Suzanne and her father (played by Pialat) have a bonding chat has a special place in my heart and memory.
A delicately shot and vibrantly filmed movie that shows the tensions within a familial setting on the brink of change and separation. We are shown sibling rivalry and parental violence, and the young Suzanne, played by Sandrine Bonnaire, is wonderfully affecting and manages to invoke empathy in us through her innocent rebellion and her first steps into adulthood.
Bonnaire and Pialat himself are extraordinary. Personally I found Ker and Besnehard a bit grating at times, especially at their most hysterical, which rather detracted from a couple of important scenes. Nonetheless I can see why this has become regarded as such a classic.
Nostalgic cinematography and a seamless passing of time are the spine of Pialat's coming-of-age masterpiece that riffs on female liberation and familial dysfunction caused by archaic, possessive male behaviour. Bonnaire, with a commanding performance, exudes subtle power in every scene. Suzanne is a force to be reckoned with, not just an innocent, naive girl, but a self-aware, thinking, feeling, loving human being.
Pialat prend tous les risques et c'est sa force. Ici il nous fait pénétrer dans la violence quotidienne d'une famille où l'amour n'est pas. Et la réplique provoque les tremblements de l'héroine magnifiquement incarnée par Sandrine Bonnaire. C'est dur et bouleversant ce constat d'échec à l'intérieur de la cellule familiale, comme un cancer incurable. Mise en scène prodigieuse.
Affected me a lot. This is a character study of a superfluous young lady, a mix between Onegin and Madame Bovary. I say the latter because Suzanne is a romantic who bases her idea of love on what she reads, which in the beginning is a play by Musset. I have been led astray by women like her, and I believe Pialat has too. Sensual and dangerous, but naive and maybe even dense. Perfect.
People that don't like each other, or the protagonist Susanne, much (her family and sexual partners) + her friends. They argue, f**k, and sm*ke :-) This is the opposite of domestic bliss and a happy life. She's maybe going to have a great life, because she's got the spunk to escape - or maybe these destructive and self-destructive patterns will atrophy her spirit. Memorable. Scary power exudes from gauche Bonnaire.
"They fuck you up, your mum and dad / They may not mean to, but they do / They fill you with the faults they had / And add some extra, just for you." Bonnaire is seductive, sympathetic, nihilistic, incredible... And stunning cinematography, which looks about fifteen years ahead of it's time.